John Millington Synge - Böcker

'This authoritative edition adds a dimension to our understanding of John Millington Synge...annotated in generous detail.' British Book News'it is good to have all this material brought together, splendidly elucidated by Professor Saddlemyer's notes.' London Review of Books'a model of editorial scholarship.' Times Higher Education Supplement

room (although tight) on pp270 for LS barcode-if not drop in an extra 2 pages

A re-issue of the collected plays by one of Ireland's most celebrated writers In The Shadow of the Glen an old man tests his wife's commitment by feigning death; Riders to the Sea is inspired by Synge's stay on the Aran Islands and shadows the death of a way of life as a mother sees her sons die before her eyes; The Tinker's Wedding is about a woman's desire for marriage to her tinker husband and is full of Synge's fascination for the tinker breed who had freed themselves from govenment and conventions while giving way to instincts of sexual promsicuity, fighting and drinking; The Well of Saints is set near a holy well known for its cures of blindness and epilepsy and centres on the figure of Martin Doul, who is blind and has two illusions - the first, that he and his wife Mary are a handsome couple and the second, that the visible world is full of wonder and delight; The Playboy of the Western World, in which a young man lies about the death of his father offended audiences when first produced in 1907 on account of its 'immodest' references to Irish womanhood and aroused a prolonged and bitter controversy, which lasted until the author's death in 1909; Deirdre of the Sorrows is Synge's last play, published posthumously and tells the story of a young and beautiful girl, destined to be the bride of an ageing king who elopes with a younger man and after the magical seven years returns only to bring with her the destruction of a city.

When John Millington Synge and Molly Allgood fell in love, he was thirty-five, she nineteen. Neither knew that he had Hodgkin’s disease, of which he was to die in three years. Synge had already achieved recognition as a playwright—translations of two of his plays had been performed in Berlin and Prague—and he was codirector, with Yeats and Lady Gregory, of the Irish National Theatre Society. Allgood had started her acting career the year before, in the newly opened Abbey Theatre, with a walk-on part in Synge’s Well of the Saints. She had been promoted from crowd scenes to bit parts to lead roles in Riders to the Sea and The Shadow of the Glen. She was still only a member of the company, however, while Synge was a director, whose codirectors disapproved of fraternization. Synge and Allgood also faced the disapproval of two widowed mothers. Barring an occasional holiday trip or company road tour, they could seldom be alone together, except on secret afternoon meetings for long walks in the country. Hence their hundreds of letters.Molly Allgood’s letters do not survive; they apparently were destroyed when Synge died. But his letters convey her mercurial charm, her openness, her love of life, her impulsiveness, and her temper—as violent as his own. What they convey of him (when he is not reproving her or remonstrating with her, as he does in the early months of their relationship) is the love of nature, the poetic language, the bittersweet irony, the elemental quality of emotion, that we know from the plays. His concern for his craft is seen as he struggles with The Playboy. (“Parts of it are not structurally strong or good. I have been all this time trying to get over weak situations by strong writing, but now I find it won’t do, and I am at my wit’s end.”) Synge was quite unperturbed by the violent outrage and near-riots the play provoked. (“Now we’ll be talked about. We’re an event in the history of the Irish stage,” he wrote cheerily.)As his illness progresses, following operations in 1907 and 1908, there is great poignancy in the gradual abating of references to marriage plans and in the shift of salutation from “Dearest Changeling” to “My dearest child.” After Synge’s death his friends and biographers discreetly avoided mention of Allgood, who under her stage name of Maire O’Neill became one of the leading actresses of the Irish theater and lived until 1952. His letters to her have not been published before, except for the few quoted in Greene and Stephens’s 1959 biography. A primary source for the study of Synge and the Irish theater movement, the letters include poems inspired by Allgood and extensive information about Abbey Theatre business.In addition to a biographical introduction, Ann Saddlemyer has included a map of the Wicklow and Dublin areas and numerous photographs of both Synge and Allgood.

This revised edition of the play is published alongside commentary and notes by Christopher Collins, Assistant Professor of Drama at the University of Nottingham, UK. It includes information for today's students on the play's context; themes; dramatic devices; production history; critical reception; academic debate; and ideas for further study. It also includes interviews with practitioners involved in major recent productions of the play.Described by J.M. Synge as "a comedy, an extravaganza, made to use", The Playboy of the Western World is one of the most iconic plays to have come out of Ireland in the 20th century and is today recognised as a staple of the dramatic canon. It is published as a new Student Edition, which offers a 21st century lens on a play over 100 years old. When it was first performed in 1907 at Dublin's Abbey Theatre, Synge's play provoked uproar and was interrupted more than once by the police. Today, we recognise its importance in making Irish drama the force it became in the early 20th century.

At the edge of the earth, you could be anyone.Pegeen Flaherty’s life is turned upside down when, on a normal day, a young man walks into her pub claiming that he’s killed his father.Instead of being shunned, the killer Christy Mahon becomes a local hero. The welcome murderer wins hearts and races as he beds himself into village life. That is until a second man unexpectedly arrives on the scene…John Millington Synge’s riveting story of youth and self-discovery has been celebrated for decades. This new edition was published to coincide with the National Theatre's 2025 production with a cast that included Nicola Coughlan as Pegeen Flaherty, Éanna Hardwicke as Christy Mahon and Siobhán McSweeney as Widow Quin.Features notes by Christopher Collins, University of Nottingham.